artists mentioned by Boards of Canada in their interviews
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In the mid-eighties, now based near Edinburgh in Scotland, Mike recruited a few friends to form the first of several incarnations of a âproperâ band. Marcus Eoin was drafted in, initially as a bass player, but he soon emerged as co-writer and co-conspirator for what the band was later to become. At this point the band had a fairly traditional live set-up; guitars, bass, keyboards, drummer and occasional vocals, but the emphasis was on minimal, atonal electronic songs, a sound that easily stood out amongst the abundance of traditional rock and hair-metal bands the audiences in their local area were used to. The line-up of the group changed frequently, and Marcus was later quoted as saying that they had gone through at least fourteen other musicians during this period, a statistic Mark E. Smith would be proud of. | In the mid-eighties, now based near Edinburgh in Scotland, Mike recruited a few friends to form the first of several incarnations of a âproperâ band. Marcus Eoin was drafted in, initially as a bass player, but he soon emerged as co-writer and co-conspirator for what the band was later to become. At this point the band had a fairly traditional live set-up; guitars, bass, keyboards, drummer and occasional vocals, but the emphasis was on minimal, atonal electronic songs, a sound that easily stood out amongst the abundance of traditional rock and hair-metal bands the audiences in their local area were used to. The line-up of the group changed frequently, and Marcus was later quoted as saying that they had gone through at least fourteen other musicians during this period, a statistic Mark E. Smith would be proud of. | ||
â | During the late 1980âs whilst working on a series of film and photographic projects, the group decided to create a studio of their own. Unrewarding day-jobs funded the purchase of audio gear and a variety of exotic acoustic musical instruments, and with the acquisition of samplers the band began producing do-it-yourself garage demos on their own label âMusic70â which they distributed mainly amongst friends. Soon the band was producing cassette EPâs and even entire albums of demo material, some of which have since gone on to become legendary collectorsâ items. It was during this period that the name â[[Boards of Canada]]â, initially an EP project title, became the name of the band. | + | During the late 1980âs whilst working on a series of film and photographic projects, the group decided to create a studio of their own. Unrewarding day-jobs funded the purchase of audio gear and a variety of exotic acoustic musical instruments, and with the acquisition of samplers the band began producing do-it-yourself garage demos on their own label âMusic70â which they distributed mainly amongst friends. Soon the band was producing cassette EPâs and even entire albums of demo material, some of which have since gone on to become legendary collectorsâ items. It was during this period that the name â[[Boards of Canada]]â, initially an EP [http://thejakartastory.blogspot.com/2013/05/cipto-junaedy.html cipto junaedy] project title, became the name of the band. |
Around 1990 Mike and Marcus, frustrated by the traditional line-up and the lack of commitment of other band members, started to mould the bandâs performances into something altogether more bizarre. Every summer Mike and Marcus collaborated with friends under the name âHexagon Sunâ to throw late-night outdoor parties in the countryside near their studio in Scotland, where bonfires were accompanied by electronic music, processed television themes, films, projections and reversed speech tapes to create an exciting, if slightly threatening, atmosphere. These nights, which the band still occasionally organise to this day, became known as âRedmoonâ nights after an early event which was dramatically backdropped by a blood-red full moon. | Around 1990 Mike and Marcus, frustrated by the traditional line-up and the lack of commitment of other band members, started to mould the bandâs performances into something altogether more bizarre. Every summer Mike and Marcus collaborated with friends under the name âHexagon Sunâ to throw late-night outdoor parties in the countryside near their studio in Scotland, where bonfires were accompanied by electronic music, processed television themes, films, projections and reversed speech tapes to create an exciting, if slightly threatening, atmosphere. These nights, which the band still occasionally organise to this day, became known as âRedmoonâ nights after an early event which was dramatically backdropped by a blood-red full moon. | ||
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''[[Music Has the Right to Children]]'' returned to the UK Independent Chart Top 20 in February 1999, and after staying around for three weeks it peaked at number 7. Simultaneously the Peel Session single hung around the Top 10 of the Independent Singles Chart for several weeks. [[Boards of Canada]] soon found themselves in demand for remix work and obliged with a handful of mixes for various artists, including the hugely influential Meat Beat Manifesto. | ''[[Music Has the Right to Children]]'' returned to the UK Independent Chart Top 20 in February 1999, and after staying around for three weeks it peaked at number 7. Simultaneously the Peel Session single hung around the Top 10 of the Independent Singles Chart for several weeks. [[Boards of Canada]] soon found themselves in demand for remix work and obliged with a handful of mixes for various artists, including the hugely influential Meat Beat Manifesto. | ||
â | In May 1999 NME included [[Boards of Canada]] in its âTop Ten Nu-Psychedelic Bands,â alongside Mercury Rev & The Beta Band. In the same issue, NME ranked [[Boards of Canada]]âs debut album ''[[Music Has the Right to Children]]'' in its âTop 25 Psychedelic Records of All Timeâ. ''[[Music Has the Right to Children]]'' sat alongside other luminaries such as âTomorrow Never Knowsâ by the Beatles, âInterstellar Overdriveâ by Pink Floyd, âThe Stars That Play With Laughing Samâs | + | In May 1999 NME included [[Boards of Canada]] in its âTop Ten Nu-Psychedelic Bands,â alongside Mercury Rev & The Beta Band. In the same issue, NME ranked [[Boards of Canada]]âs debut album ''[[Music Has the Right to Children]]'' in its âTop 25 Psychedelic Records of All Timeâ. ''[[Music Has the Right to Children]]'' sat alongside other luminaries such as âTomorrow Never Knowsâ by the Beatles, âInterstellar Overdriveâ by Pink Floyd, âThe Stars That Play With Laughing Samâs Dice â by Hendrix and âTo Here Knows Whenâ by My Bloody Valentine to name but a few. |
From 1999 onward various tracks from the BOC back-catalogue were being licensed for compilation albums, TV synchronisation and film soundtracks all over the world. | From 1999 onward various tracks from the BOC back-catalogue were being licensed for compilation albums, TV synchronisation and film soundtracks all over the world. | ||
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In the summer of 2004 Mike became a father. His daughter was born during the writing sessions of the bandâs third studio album for Warp. | In the summer of 2004 Mike became a father. His daughter was born during the writing sessions of the bandâs third studio album for Warp. | ||
â | At the end of 2004 US artist Beck asked [[Boards of Canada]] to remix a song for his upcoming album âGueroâ. BOC took the vocal lines of his beautifully wistful track âBroken Drumâ and created a whole new melody around them, with an epic, heavily layered crescendo. In an interview with Clash Magazine in the spring of 2005, Beck described the remix as | + | At the end of 2004 US artist Beck asked [[Boards of Canada]] to remix a song for his upcoming album âGueroâ. BOC took the vocal lines of his beautifully wistful track âBroken Drumâ and created a whole new melody around them, with an epic, heavily layered crescendo. In an interview with Clash Magazine in the spring of 2005, Beck described the remix as â?my favourite remix Iâve ever had done ? they brought out something that was there but then they just added a whole new dimension. I guess itâs quite an emotional song and they brought out something bittersweet in it that was kinda hippyish, but it doesnât maim you with saccharin. It kinda gets you right in the chest.â |
In summer 2005 [[Boards of Canada]] completed work on their third album for [[Warp|Warp Records]]. ''[[The Campfire Headphase]]'' was released in October 2005. Described as an âepic sci-fi westernâ, the album is a surprising deviation into 1970âs guitar licks and graceful, summery lysergic melodies. A video was released for the track âDayvan Cowboyâ, featuring a sky-diver falling from space into the ocean then surfing into the sunset at the songâs euphoric climax. This was the first publicly-available video to be released outside the bandâs live shows. | In summer 2005 [[Boards of Canada]] completed work on their third album for [[Warp|Warp Records]]. ''[[The Campfire Headphase]]'' was released in October 2005. Described as an âepic sci-fi westernâ, the album is a surprising deviation into 1970âs guitar licks and graceful, summery lysergic melodies. A video was released for the track âDayvan Cowboyâ, featuring a sky-diver falling from space into the ocean then surfing into the sunset at the songâs euphoric climax. This was the first publicly-available video to be released outside the bandâs live shows. | ||
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In the autumn of 2006 [[Boards of Canada]] began work on a new album. | In the autumn of 2006 [[Boards of Canada]] began work on a new album. | ||
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== 2005 == | == 2005 == |